Why Dunlop's Anime Reached 1.5 Million Views for Two Consecutive Years

DUNLOP presents "ROAD TO YOU – The Road Leading to You," released as a web video in 2017. This is where DJS began.

Dentsu Japanimation Studio (DJS) is a collaboration between Japan's world-renowned animation studio and Dentsu Inc., solving clients' marketing challenges. This time, we introduce Dunlop's original web anime "ROAD TO YOU," planned and produced by DJS, which achieved 1.5 million views for two consecutive years in 2017 and 2018.

『ROAD TO YOU -The Path Leading to You-』
https://www.youtube.com/watch?v=gLuZhjvAG8M

『ROAD TO YOU -Promise on the Starry Hill-』
https://www.youtube.com/watch?v=JslkbEzI_b4

We asked Kim Young-jin, who served as content producer for the first work "The Road Leading to You" and is now CEO of indi Inc. after leaving Dentsu Inc., and Tada Riki, a planner at Dentsu CDC who handled planning and scriptwriting for the second work "The Promise on the Starry Hill," about the key points in creating "advertising anime content that resonates with younger audiences."

<Table of Contents>
▼A Solution Using "Anime" That Resonates with Younger Audiences: Something That Seemed Obvious Yet Was Missing
▼Is Web Anime Effective for Branding?
▼In a Content-Saturated Web, Know-How in "How to Deliver" Becomes Critical

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It Seemed Obvious, Yet It Was Missing. Solutions Using "Anime" That Resonate with Younger Audiences

indi's Kim Young-jin (left), serving as content producer at DJS, and Dentsu Inc. planner Tada Riki, who also handles planning and screenwriting.

──Please tell us the background behind proposing anime content for the branding of Dunlop's studless tire "WINTERMAXX 02".

Kim: At the time, Dunlop expressed a desire to pursue branding targeting younger audiences via the web, separate from TV commercials. When considering strategies for this, anime fit both criteria: web-based and appealing to younger demographics. For today's youth, anime is already mainstream culture, right?

Tatara: As the numbers show, I've increasingly noticed how deeply anime culture has permeated the younger generation, even in my work. For example, new hires these days often casually talk about their favorite anime as if it's perfectly normal. Ten years ago, when I was an anime-loving student, I don't think the proportion of young anime fans was nearly as high.

Source: Dentsu Inc. Web Quantitative Survey, December 2018 (20,000 respondents nationwide)

Dentsu Inc.'s proprietary survey measured interest in anime on a 10-point scale across generations. The late teens and twenties age groups showed exceptionally high levels of interest.

Kan: When we launched the project that became the current DJS in 2017, we searched within Dentsu Inc. for creators with strong anime expertise. Mr. Tatara was one of the people we approached (laughs).

Tatara: I've been a long-time anime fan myself, and I'd worked on several anime-related projects even before getting involved with DJS, so I guess that's why I was called upon. Of course, I was thrilled to be able to work on anime.

Kan: Another reason we proposed anime for the web was the anime fanbase. Anime fans tend to be very active on social media. If you release a good work online, it naturally gets shared overseas. For example, as a Twitter user myself, I'd see fans tweeting about the work or their impressions, liking related tweets, commenting, and actively spreading the word about good content.

Despite this situation, there was no established framework for content solutions that incorporated Japanimation—Japan's original anime content—into branding. That's why I thought partnering with an animation studio to provide such solutions would be valuable.

──As a result, "ROAD TO YOU" became a hit, exceeding 1.5 million views consecutively in 2017 and 2018. What was the key to its success?

Kan: First, it wasn't just about using anime to grab the attention of younger audiences; we created content that closely aligned with the client's brand. We also staffed the project with creators who understood anime trends. Above all, I believe the creativity of the creators involved was the decisive factor in its broad acceptance.

At DJS, before production begins, our strategic planners create an "Anime Concept Research" report tailored to the brand. Based on these findings, we determine the theme and direction for the anime. While this research is crucial as a starting point, including building consensus with the client, we don't rigidly adhere to it when crafting the story. It's fundamentally research for the kickoff. The most important factor is the creators' sensibilities. For example, on the second work, "Promise on the Starry Hill," DJS planner Mr. Tatara masterfully consolidated the story's direction.

The general flow of anime production at DJS.

Tataru: Based on the concept research results, DJS's strategic planners proposed several candidate short stories. Among them, the story about "father-son family love" had the highest appeal among younger audiences and the strongest affinity with Dunlop's brand image. But even within the theme of family love, there are many possible variations, right? I envisioned several different visuals in my mind and made quite a few detailed adjustments to the script as we developed it, such as finding combinations that better conveyed the tension of driving on a snowy road.

Kan: At DJS, we collaborate with experienced animation directors. Since the animation and advertising industries are different fields, I think there was some uncertainty about "how much we could actually achieve." In that context, what stands out most about the second project was when Mr. Tatara declared, "I'll write the script," even though the animation director was also a scriptwriter.

For a story with a 3-5 minute runtime, keeping viewers engaged until the end required a different approach than the 15- or 30-second TV commercials we usually make. It was a real challenge, but because Mr. Tatara and the Dentsu Inc. staff were anime enthusiasts and we could actively exchange ideas with the director, we managed to pull it off beautifully in the end. For DJS, I think it was a huge learning experience for the future.

The second film, "Promise on the Starry Hill," released in 2018, was planned and scripted by Mr. Tatara. While keeping in mind the need to align with Dunlop's brand image, the top priority was creating a "good piece of work," and communication with the director proceeded accordingly.

Is web animation effective for branding?

──Having worked on two Dunlop projects, do you feel web anime can be used for branding?

Kan: Of course, it depends on the target audience and how it's made, but I believe it's a strong option as a branding strategy. DJS's approach isn't just about creating standalone anime and calling it a day. Strategic planners are involved from the proposal stage, thoroughly analyzing the target audience and considering how to integrate it within the overall campaign. For example, by customizing the timing and messaging to align with mass media campaigns, we add depth to communications targeting younger audiences. When executed this way, short-form web anime like this one can be highly effective for branding.

Traditionally, mass media like TV dominated branding efforts, but leveraging content online, as we did here, can also deliver strong branding results. Dunlop employs distinct communication approaches for TV and web branding, but it's increasingly crucial to think content-first rather than rigidly assigning roles based on media or platform.

──"ROAD TO YOU" was produced to promote Dunlop's studless tire, the "WINTER MAXX 02," but the work doesn't explicitly showcase the tire itself, does it?

Tataru: We aimed for an expression where "there's a story, and within it, the tires play a good role," rather than prominently advertising "the tires stop reliably even on snowy roads." This was actually a point of conflict for me too; there were discussions about whether we should show the tires more. However, Mr. Kan told me, "Don't be overly conscious of it being an advertisement; approach it with the mindset of creating an anime work." That said, of course, we wrapped it up so that displaying the "Dunlop" name at the end of the movie wouldn't feel out of place.

Kim: Communicating with younger audiences is a common challenge for many clients. But by creating solid content and delivering it tied to the brand, rather than just pushing the product we want to sell, I believe we've set a precedent for building strong connections between the brand and its customers.

──What did you prioritize to create a "good work"?

Tatara: First, we needed to create a scenario where the animation studio could produce beautiful visuals. That's why we chose "stars in the night sky" as the theme for the second piece. Additionally, we aimed to move the viewer's emotions within a short timeframe. To achieve this, we consciously incorporated an element of surprise somewhere. We didn't directly depict the father's death, but in the final scene where the daughter "Yui" reads a letter from her father, we structured it so viewers would realize, "Ah, so that's how it was," and feel a bit of an emotional punch.

Kan: To create "good work" as content, communication with the director is important, but it's also essential to share a strategy with the client: "not just promotional creative development, but building a brand by establishing the anime content as a work of art." By sharing that vision, I believe we were able to leverage the anime studio's excellent production capabilities.

In the saturated web content landscape, know-how on "how to deliver" becomes crucial

──How was the response from SNS users and media after release?

Kan: It largely met our expectations. Looking at actual SNS comments and shares, people who enjoyed "ROAD TO YOU" also developed a positive impression of Dunlop, and overall sentiment analysis showed improved favorability.

What we confirmed with the first work is that "if you create a good piece and devise ways to deliver it, anime fans will definitely respond." The key element is the "delivery" part—that is, PR planning.

When and where to get coverage, and how to get it widely shared on social media. The key elements for getting articles featured differ between anime-focused media and general media.

PR planning for original anime content. It's not just about creating good content; strategic PR is essential for marketing web content.

Tatara: One way to build news value into a project is through the assignment of participating creators as partners. For the first work, "The Road Leading to You," planned by Mr. Tenpei Shikama's team at Dentsu Inc., they commissioned manga artist Shin Takahashi, known for hits like "The Ultimate Weapon Girl," for the character designs, and young artist Keina Suda (Balloon), who has produced numerous popular Vocaloid songs for younger audiences, for the theme song. Furthermore, the overall design featured an unprecedented pairing: the top male and female voice actors, Hiroshi Kamiya and Miyuki Sawashiro. This combination proved highly effective.

──What challenges lie ahead for DJS moving forward?

Tatara: Web content utilizing anime is also increasing now. Amidst growing competition, we want to consider how to position DJS's initiatives. Dentsu Inc.'s strengths, as introduced in the first installment, include our structure as an advertising agency handling everything from strategy planning to PDCA, our strong relationships with animation studios, and our global network. I hope to share more details about these in future installments.

Kan: Beyond just anime, as content becomes saturated, the question of "how to reach audiences" becomes increasingly crucial. For the second work, the timing of the video release coincided with artist Keina Suda (Balloon) releasing an album on a major label, following her contribution of music to the first work. This allowed us to design a PR plan where mutually adjusting exposure created a win-win situation. For the artist, anime news serves as an entry point for generating interest in their work. Conversely, through Suda Kana (Balloon)'s work announcements, viewers become aware of "ROAD TO YOU."

Tatara: When utilizing content for advertising, I believe one key is designing collaborative relationships with artists and partners who create the work together, ensuring mutual benefits are generated.

【Contact】
Dentsu Inc. Dentsu Japanimation Studio
Email: japanimation@dentsu.co.jp